Smith Westerns @ Howler’s Coyote Cafe, 4-18-09
© Mahsa Borhani, 2009
Smith Westerns – Gimme Some Time // I first got turned onto these guys in April when they played night two of Totally Wired fest along with a slew of other bands. They were the first band to play that night (probably due to them being underage at a bar) and pretty much blew me away. Once they started playing, I couldn’t believe that four fresh faced boys in the tightest jeans possible could bust out some of the catchiest pop gems I’d heard in a while. “Gimme Some Time”, which is off of their self-titled LP, is one of my favorite songs, not only due to the steamy lyrics, but also cause of the rambunctious chorus, punk sensibility, and the very fitting garage rock sound. In fact, I don’t think there is a single song on this album that I don’t love.
Box Elders – Cougars // I have to admit, I’m constantly bewildered by Box Elders. First of all, their drummer is a multitasking fiend who can drum, shake a tambourine, and play an organ all at once. Secondly, they have the most bizarre outfits and do crazy shit like shoot flames during songs such as “Cougars.” Third of all, they don’t take them selves very seriously but somehow manage to make really well crafted pop compositions that are a force to be reckoned with. Their brand of rock differs greatly from the increasingly favored fuzzed out & distorted breed that populates the underground scene today–this is straightforward garage pop that serenades you with strong guitar melodies and jeers at you with an underlying punk attitude. Combine that with a few surf rock guitar licks and punchy bass lines, and it’s very hard not to break out dancing. I’m a little late on their game, having only been introduced to them in January, but these guys tour a fair amount and I’ll have the pleasure of seeing them for the third time in September. Check out their myspace to make sure you catch them on their upcoming tour–you don’t want to miss one of the most entertaining bands to have graced the midwest.
Box Elders @ Howler’s Coyote Cafe, 4-18-09
© Mahsa Borhani, 2009
Buzzcocks – Promises // Definitely an oldie, but one of my favorite songs off of the Love Bites re-issue that effectively displays the incredible talents of John Maher to the band’s rhythm section. Buzzcocks have always been a defining figure in pop punk and “Promises” really depicts the level of imagination they possessed in terms of lyricism, melodies, and percussion. I think that Pete Shelley’s vocal range stands out on this track and has a certain vigor and emotion that is sometimes void in their more popular songs.
Bricolage – Flowers of Deceit // My first taste of Bricolage was “Footsteps” back when it was still an orphaned child with no album to call its own. I was very glad to finally hear the full length LP they released last year and also glad that none of their slightly lackluster demo tracks made the cut. Bricolage demonstrate a talent that is sadly absent from many American bands’ repertoires–harmonizing. The harmonizing is truly cohesive and deftly peppered in. I never realize what I am missing on some songs I hear until I realize it is solid vocal harmonies. You could have a good melody and it will just be flat without throwing in a tertian harmony or two; it’s why 90s top 40 pop hits are fucking great. With two guitarists, three vocalists, and really solid drumming, Bricolage stand miles ahead of other bands in their realm such as Franz Ferdinand or the eerily identical vocals of Dogs Die in Hot Cars. The chummy vocals on many of their tracks become more endearing with each repeating listen, instead of increasingly annoying, as I tend to find with other similar bands. This whole album has taken my fancy and there are a slew of other masterfully mixed songs such as “Turn U Over”, “Looting Takes the Waiting Out of Wanting”, “6th For Poet”, and of course–”Footsteps.” If you’re a slut for brit-pop, I warn you not to sleep on these guys–you will regret it.
X-Wife – Heart of the World // I kind of forgot about this band until I accidentally stumbled upon their 2008 full length album, Are You Ready For the Blackout?, a few weeks ago. I first heard “When the Lights Turn Off” a few years ago and was convinced they were British and emulating the Klaxons or something. You can understand how confused I was when I found out they were Portuguese and had more embedded in their talents than just being able to make very catchy dance rock. I think “Heart of the World” is a good example of that; it not only represents an uncanny resemblance to The Rapture, but it also takes the weirdo tinge out of their sound and adds a bit more of a post punk and melodramatic feel to everything. The synth also accompanies their music rather well–slightly cheesy yet still appropriate as it maintains a continuous personality throughout the majority of the songs from their album. Overall, the album remains quite accessible to mainstream tastes–despite the band being pretty unknown in the states–and I’ve found it to be a good source for addictive summer jams.
Blank Dogs – Open Shut // Blank Dogs are a diverse and talented band that I’ve criminally disregarded for a while. I missed the show they played in Pittsburgh in March, brushed off the hints I got last April & October, and ignored all the rave reviews from friends. Compared to their previous releases, Under and Under goes in a different direction with more centralized songs, a cleaner recording aesthetic, as well as a strong nod to coldwave influences. Basically, this is the kind of sound that shitty bands like She Wants Revenge are probably striving for. Blank Dogs’ angular melodies are somewhat reminiscent of the A-Frames, and similar to what Fredericksburg band Ceremony are also currently toying around with. I have to admit that the album took a little while to grow on me, but once you accustom yourself with their sound, you’re sent to an altered state adrift with oddball vocals, peculiar synth, and alarming guitar lines; together they form a soundscape which invokes feelings of nostalgia and despondency. “Open Shut”, in particular, is suffused with that kind of creepy, coasting-on-by attitude which is prominent in the band’s musical identity.
TV Ghost – The Recluse // The only chance I ever had to see this band was completely ruined due to them getting arrested for drinking underage, or some shit, somewhere in small town PA, therefore being unable to play their Pittsburgh show in April, as well as a handful of other shows on their tour. Very unfortunate, for sure, seeing as their newest album Cold Fish bears that same brand of weirdo rock that tends to spawn in Detroit rather than the band’s hometown of Lafayette, IN. The first thing I got from this track was that it sounded so much like The (now disbanded) Arm, from Texas. The whole album possesses a horror appeal to it–mostly from the reeling synth, erratic guitar and dingy bass–kind of like what Human Eye or Francis Harold and the Holograms have going on. In fact, I wouldn’t be surprised if there were a larger, conceptual narrative present in the album with more listens.
Pissed Jeans – Pleasure Race // Pissed Jeans…what else is there to say? I have been anxiously waiting for them to drop a new album and when I heard “False Jesii Part 2″ I knew we were in for something magical. The 2007 release of Hope for Men was slightly disappointing, considering the earlier standard they had set with quite memorable songs such as “Closet Marine”, “Ashamed of My Cum” and “I’m Sick.” Pissed Jeans have always had a gross humor that they’ve enforced with grating guitar riffs, grimacing yells, and fast bass lines and then also with slower, heavier, wandering compositions; I’m glad to hear that the drums finally get a more considerate mix in the songs. “Pleasure Race” remains as one of my top three favorite songs off King Of Jeans with the repetitive guitar, driving drums, and vocal diatribe that Matt Korvette is notorious for. Once again, Pissed Jeans embrace mundane subjects, contradict the socially acceptable ones, and turn it all into some sort of idolatry. In addition, there are a couple of surprising tracks on the album–such as “R-Rated Movie,” where the instrumentals sound initially uncharacteristic compared to earlier work. Nevertheless, the song then descends into a raging chorus that lauds blood, sex & violence–contrasting the excitement of all the action to the narrator’s seemingly boring life. Who else writes a song about this shit, seriously? So fucking good. The album officially drops on August 18th so be sure to pick it up.
more shows added:
- oxford collapse – nov. 14th – brillobox
- casiotone for the painfully alone – nov. 21st – modern formations
- el ten eleven – nov. 29th – brillobox
- steve goldberg & the archenemies – nov. 30th – garfield artworks
- margot and the nuclear so and so’s – dec. 12th – brillobox
I will be compiling a new concert list on the shows page tomorrow, so you can just click that instead of going through the posts. I know…it’s a huge hassle and I am a little disorganized. I haven’t really been keeping up with KC shows since I am never there during the year.
There are LOTS of new photos up on my flickr, if you have not checked recently. I always have new shit up there every week so you should definitely check it out since I don’t have time to write reviews up on all of them. Saturday night I got to see Lohio and The Harlan Twins, which was a really wonderful show. I’d never seen either of them before, so I was pretty impressed and it wasn’t as folky as I thought it was going to be. Here are a handful of my favorite (vertical, lol) shots:
lohio
the harlan twins
I have been a fan of French Kicks ever since Trial of the Century came out in 2004, so you can imagine how I psyched I was when they announced this show. Since I knew I was going to attend, I waited until the date to buy their new album, Swimming, right then and there. Oh man, hearing all the new stuff live for the first time was really satisfying. I had only listened to “Said So What”, “Atlanta”, “Sex Tourists”, “Carried Away”, and “Abandon” before getting the album and I was struck by how tight and catchy they were. The band weaves some old timing pop melodies that have become their signature style–the trembling guitar, bouncing drums, and minimalistic piano parts. Despite the addition of Aaron Thurston on drums in 2004, Nick still writes all the drum parts. One welcome change was allowing Josh to sing on more songs. During the show he sang “Said So What” & “Carried Away”–two of my favorites off the album. Three of the songs off Swimming were written solely by Mr. Wise. Speaking of his talents, the album art this time was a collaborative effort between the whole band, as opposed to Wise’s creative control on the album art for Two Thousand and many of the t-shirt designs.
It was a bit of a bummer seeing such a scanty crowd, all standing at least three feet away from the stage, but I’m not surprised. It is Kansas City, and it was a Monday night. I cringed though when in between songs Nick mentioned that he felt like he was “at a recital.” Ouch. In the beginning he tried to shimmy and groove a little on stage (which was humorous), but in the end I think he gave up trying to spur us to dance. It was good hearing them play some old songs like “Trial of the Century,” “So Far We Are” and “England Will Just Not Let You Recover.” I wish they had played “Knee High” and I mentioned it to Nick later, to which he promptly responded “You should have just called it out.” I know! Why am I such a wallflower? I guess it was because the crowd was just so unresponsive I didn’t want to attract any notice or be that kid that shouts out song titles.
An endearing part of their performance was seeing Lawrence and Nick trade instruments, with Nick sporting the bass while Lawrence took over on the telecaster for a couple of songs. I suppose I am also impressed with Nick being able to play every instrument featured on the album. When speaking to him earlier he mentioned that he always really liked Pittsburgh after I asked him if they’d ever played there. Sweet! He also said that he liked the atmosphere of the Recordbar; of course, that was before they played, so maybe he changed his mind, haha.
Frightened Rabbit opened up for them, and they were really good. I was surprised at how great the sound was at the Recordbar. I am so used to stuff either being way too loud, or just generally shitty, so this was very relieving. There’s nothing that sucks more than paying $12 cover to get into the show and having it sound like crap. Anyhow, they played some stuff I recognized like “The Greys”, “Be Less Rude” and maybe “Square 9″? They also improvised a lot of instrumental jamming into some songs, which was loud and gritty. They had a laptop on stage of which I am not sure what the function was. Their vocalist was real high-energy and slicked with sweat by the end of the set. If I hadn’t killed all my cash on the concert ticket and Swimming, I would have definitely bought the new Frightened Rabbits album, The Midnight Organ Fight. Luckily for me, I found a a leaked version through Filestube.com. Hah, that site is pure gold.
One For the Team was the first opener, but I didn’t get there until they had finished up. Shitty day at work = two hour nap for me. I did get to talk to one of the dudes afterward, though. Because the Recordbar has this lame policy of kicking out minors once the show is over, the dudes were sitting outside as I was leaving. I mentioned Hedgu and the night they played Pittsburgh (simultaneous with first game of Stanley Cup!). Hopefully they will come play Pittsburgh again as it is rather sad that I have missed them twice within a month’s time.
listen:
French Kicks – Oh Fine [from Trial of the Century]
French Kicks – Knee High [from Two Thousand]
French Kicks – What You Want [b-side]
French Kicks – New Man [from Swimming]
Frightened Rabbit – The Greys [from Sing the Greys]
Frightened Rabbit – Fast Blood [from The Midnight Organ Fight]
Usually I cut straight to the music, but I personally feel like this is a rather narrow view; there is a lot more than just the acoustics of the performance that make a live show a great experience. After I rushed through my chores, I went up to Lawrence, saw the foreboding flashes of lightning and entered the Jackpot Saloon to a bit of a meager crowd. Boo & Boo Too were finishing a deluge of their rough workings. As soon as Snowden took the stage a group of friends come up with at least four shots to liquor these fellows up. Corinne Lee, their bassist, kindly seemed to decline, but then just downed her share so she could finish setting up her equipment while one of the girls quipped “That’s a good girl.” They dispersed except for one girl who stayed and stared a hole through the center of the stage as Jordan Jeffares, the vocalist, sound checked. Sometimes I wonder if I’m like that when I’m drunk.
While Snowden were setting up, I talked to a guy who said he moved from Wichita to Lawrence because he got bored of the scene there. He kept his job as a grocer though–specializing in the clean presentation of produce. I wondered if maybe he needed to change his scene in order to see what’s around him in a new light. I left briefly for a cigarette and started conversation with two guys who traveled from Denver to see Colour Revolt play. I also saw the flyer for Modey Lemon (June 26th), and who else but Boo & Boo Too opening?
As soon as I started shooting Snowden (I panicked for two songs because I thought I left my SD card at home, luckily it was elsewhere in my bag) a man behind me perked his interest and asked who I work for–”A zine based in Pittsburgh” (lies)–”What’s your web address?”–”Can I give it to you later?”– I cross to the other side of the stage. I thought because the ceiling was low, I could spread the flash better. No. It’s at this point where I wish the ceiling wasn’t dripping on me and that I could set up different slave flashes to help. And then I heard “Between the Rent and Me” and realized why I was there; it’s to materialize my memory of the music and what better way to do it than to smile and laugh and think about all those different moments of listening to it by myself. Jordan, who is normally a steady crooner, had mic trouble and had to stop after “Black Eyes” to alleviate the troublesome issue. At least with the drums loud and clear people had the beat to guide them, but it would have been a bad first impression for those who had no acquaintance with Snowden, such as the grocer next to me. Nevertheless, they executed the last song, “Victim Card”, with ease–starting slow and bringing it to the pace that could easily have happened earlier if not for a slight buzzkill in sound problems. I’m sad that “Anti-Anti” felt emptier than I imagined it to be, but the new songs (Candy for Everyone and Red-Handed) helped change it up.
I enjoyed Colour Revolt, despite my unfamiliarity with their songs. Five very well put-together guys, each conquering his own sound and letting it exude a jarring composition. One of them made love to his amp from time to time so that the feedback came out really elegant and controlled. Their lead singer went back and forth between thrumming with fingers and picking quick riffs. When he raged, his fired-up vocals provoked a tsunami of emotion to blast from his small, watery eyes. Man, could this guy serve you up a swift screech. “Moses of the South” sounds so good live, and I wasn’t really psyched about that song when I heard it before. Then the song that they played harmonica-less sounded like it wasn’t missing a thing and the slick tempo changes throughout their set were very engaging.
I’m really glad I came to this show, as it was extremely enlightening to talk to Jordan about different cities and politics, to hear Corinne express her great affection for the Philippines and Farsi (as well as for lifedrawing and sewing), to meet the super chill doorman, watch the lovely and fastidious bartender make drinks and to take my brother to his first rock show when he would have otherwise spent it in front of the TV.
Filed under: aaron jentzen, concert reviews, interviews, news links, pittsburgh
- Basia Bulat and Devotchka concert review – some thoughts on the recent show at Diesel. Don’t really agree with the Denver comment, but check it out.
- Blurb in the Post Gazette about Olympus Mons – saw them play at Gooski’s with Suburban Sect a while back and they were pretty sweet. CD release show TOMORROW.
- An old preview about British Sea Power – did anyone go to this show? It was last week and I’ve liked The Rosebuds ever since Chris Cain mentioned them in this great interview on Faceculture.nl. The last minute is gold.
- Aaron Jentzen talks to the Takeover UK about their new EP on Rykodisc – I know you guys like them as they are probably the most searched local band hit for gigawave. Here’s an ending quote from the drummer:
“It’s basically just a lot of hustling, man, just getting out of Pittsburgh,” says Sickels. “You’ve just got to get out, or you’re never going to get anywhere.” Snyder quaffs his beer and offers a little barstool philosophy: “You basically have to shrug off every single responsibility that normality would give you.”
Sad but true. Unless you play hockey, do research for CMU, or curate. I can’t really think of any other career-catapulting opportunities here. ALSO, afternoon beer? Really?
I always have to remember that I’m really lucky to be able to see shows in Pittsburgh because we end up booking (much of it thanks to Manny) a lot of experimental bands that don’t normally get exposed. Lymbyc Systym are one of those bands that really caught me by surprise. I heard they were playing Garfield Artworks in March, but brushed off doing a show preview because I couldn’t find any good recordings of their stuff. Everything sounded pretty muffled and left me inconclusive. When I saw them on May 8th, I definitely left the venue with a bottom-line: something this loud and beautiful can only push you to the edge.
Unlike the other tour dates they were doing with Her Space Holiday and Head Like a Kite, this time Lymbyc Systym headlined and played with two arrhythmic jazz bands. After the suspense that Locksmith Isadore pushed the crowd into, seeing Lymbyc Systym play was a sort of catharsis; Jared Bell’s soft but strong chords built the romping grounds for the waterfall of drumming implemented by his brother, Mike. Both musicians really weaved a diverse range of sounds–Jared with his trio of keyboards (a clavinet, nord lead, and a microkorg) and Mike controlling the loops and samples via laptop, with occasional bells and some xylaphone, in addition to his fierce drumming. One of the reasons why I’ve been fascinated with instrumental music came up particularly during the Lymbyc Systym show–how is it that just two guys can create such a responsive environment without even any vocals? Obviously I’m a fan of the primary melodies instituted by vocals, but the traveling method of pure instrumentation also has a pull as well in that it offers many different paths to journey on through the music rather than just leading you through one, giving you the hook, throwing in the bridge, then ending the song. Especially in songs like “Idle Wires” from Love Your Abuser, when the song ends, there is still an aura lingering about from all the resonating layers of sound.
I don’t want to go into a tangent, but it is exactly this facet of music Lymbyc Systym have integrated into their work which is missing from a lot of stuff I hear these days: the poetry. How many songs have you heard where the vocals are just the same thing every time? And I don’t mean in a genre–in well-crafted lyrics, you should be able to listen to it again and again and hear a different inflection or meaning every time and not have it be so literal. I mean, the beauty of language really lies in its various methods of expressiveness, so if you can’t work it, don’t use it. /end public service announcement.
At the end of the show, Jared was kind enough to give me a copy of Love Your Abuser which I hadn’t had the chance to hear prior to the show. Although it’s not as energetic as their live performance (this is inevitable), there is a pulsing quietude that continues throughout the loud and eerie hills of the album and buries itself in the interstices of the beats. Each one possesses a different story at its heart. Track 3, “Astrology Days” has a Beirut tinge to it while “Pittsburgh Left” reminds me of old Final Fantasy BGM’s. The stylings really remind me of Mojib, with the main difference being that Mojib is a DJ. Here are two of my favorite tracks, below. I know I should probably post “Pittsburgh Left” just cause, but you know, you could always just buy the album.
listen:
Fall Bicycle
Truth Skull
O’Death, March 25th
When I showed up to this, O’death just had gotten on stage, so I was pretty lucky with my timing. They played most everything off their album Head Home, and each one with a folk fury that shook the stage. Their bassist, drummer, and violinist were the most frenzied of the bunch, reeling back and forth while playing their instruments. The crowd loved them, and everyone was really moving the whole time. It was also a really good turnout of people too. For their encore they played a semi-acapella gospelish song where they got into the crowd and were chanting, with the crowd clapping along. It was an incredibly fun time. Probably one of the best shows I have ever seen, and I’ve caught quite a few this year! Some shots I took:
Wolf Eyes, April 9th
I ran out of class after hanging up our work so I could maybe catch this one earlier than I normally get to Garfield Artworks shows. When I got there, the first act had just finished and then Lord Bird Golden Cobra went on. Ok so I must admit that I really don’t go to very many noise rock shows. One reason is because there aren’t that many that come around to Pittsburgh or Kansas City. The other reason is because I can’t always get into it and it’s really goddamn weird. With that being said, when Wolf Eyes went on I suppose I had already been conditioned for them to play. The droning definitely had a method to it and their usage of beats really flowed into the sinister thrumming of all the composite noises. It was pretty wild stuff, and they could have played forever and the crowd would have just stood there oscillating along with the music. To our friend Spencer’s delight, they played “Stabbed in the Face.” Wolf Eyes are always going to remain as a mysterious band to me. Where does the inspiration for their sound come from? seriously? It was so intense I had a nosebleed through the middle of their set. These guys put me on another plane of thought.
The Dodos, April 12th
I have been in love with The Dodos for quite some time now, so when I heard they were playing a Pittsburgh date, I pretty much freaked out and had been anticipating it with an unnatural level of excitement for weeks before the actual date. I got to the the venue around 10 PM and the second act, Dean Cercone, was still playing. After him was The Hidden Twin, and then finally The Dodos went on. Earlier in the night I had seen Logan sitting behind the merch table and I needed to get back there to charge my camera battery…he was a gentleman about it, asking me if I needed any help. What a guy, right? Anyhow, The Dodos started strong with either “Fools” or “Jodi”, I can’t quite remember which. They played most everything off of their new album Visiter, as well as a stellar encore of the song “Men” which is one of my favorite songs off of Beware of the Maniacs. The crowd at this show was really big for Garfield Artworks…something around 80-90 people were there; and of course they simply loved The Dodos. Each song was followed by energetic clapping and whistling, and the people sitting in front were pretty much creaming themselves. I was completely enamored the whole time, staring dumbly into a tangle of electrical cords and stands just completely entranced with the music. But the thing that really blew me away was Meric’s guitar playing. Every fingernail on his right hand is super long, and he uses them to pick these quick and complex melodies that are simply the most beautiful things I have heard in a long time. Not to mention that he has a lovely voice as well, and had two mics to demonstrate this–one was a normal mic, and the other one was running through an effects loop so he could layer his vocals with his guitar playing. Logan was excellent as well, creating a stream of frenzied percussion through a simple set up of a trio of toms, quick stick-tapping, a few cymbals–one of them cushioned with bubble wrap–and a tambourine duc-taped to his shoe. There was also a xylophone player in the back behind the two men, but he didn’t play for every song. The Dodos not only lived up to my expectations, but also built on them, making it a truly magnificent live show. A+++ night, for sure!
In the Wake of Giants @ William Pitt Union Assembly Room (3-21-08)
Here’s stuff that I did but have been keeping from you because I am short on time:
- In the Wake of Giants, Civil Twilight, Make a Rising, Discuss @ William Pitt Union
I missed the LK because I decided to go to Gooski’s and see Mussels and Life in Bed.
- Tiny Whales at Garfield Artworks (photos on Flickr)
- Coat Party, Sberm, and Knife World at Bad Seed in Kansas City (also on Flickr)
got Tiny Whales’ EP…pretty good stuff. They played with P’funkt at SXSW. I know there were at least a few other Pittsburgh bands that got invited to play SXSW but I can’t remember which right now (Modey Lemon, BMSR?). Speaking of P’funkt, he will be playing two shows very soon, and I guarantee you that the lineup is going to split your consciousness into two streams of ever-flowing audio lysergic AWESOME. YES. ALL THOSE THINGS.
1. Wed, March 26th – 10 PM
P’funkt, Hood Gang, Mixel Pixel, Discuss
Howler’s Coyote Cafe (21+)
2. Thurs, March 27th – 8 PM
P’funkt, Hood Gang, Mixel Pixel, Chairlift, Die Benny
The Lilypad (all ages)
I am going to be at both, I want to catch Discuss again since they played the first set at the LK show, and it was definitely not the kind of environment where they could really shine. Especially since no one was dancing. So I am hoping it will be much better for them at Howler’s. For all you all ages folks, The Lilypad is in North Oakland. Zach, token naked man in Outclassed lives there, so maybe it’s not exactly an all ages show, hahahaha. address:
330 Melwood Ave
Pittsburgh PA 15213
Soccer is starting up for me on Thursday. My sculpture class is starting to build our strip of land. This means actual physically intensive work for me. I can’t update this blog as often, but I am still staying on top of shows and promoting events so please keep checking back. Musicdraw will also stay updated. Just not full show reviews and EP/album reviews.
There are a lot of things I don’t tell you guys about that are relevant to this blog. Like how I ended up seeing St. Vincent with Foreign Born even though it was sold out. But how I can’t share how spectacular it was with you because I don’t have a low light lens, BUT THEN!! how I will have a low light lens before march 16th. So what is going on this week at gigawave?
- Grand Archives and the Lisps album reviews (Cheyenne to come)
- musicdraw!
- two show reviews — Cloud Cult and Holy Fuck
I don’t think I have any KC readers (yet!) but hopefully this will change soon because I now have access to a car! Yes, this is very relevant–it means my blog might actually involve my hometown scene for once. Car = shows, especially in KC where one bus runs like twice a day. And then if it’s not in KC it’s in Lawrence…which is just as far away from me. But people in Kansas City are not to be underestimated. They love their music, and they will probably kill small children in their devotion to get somewhere. They don’t have public transportation but still pack venues, so cut them some slack if a lot of them still listen to pretty low-grade punk rock. ANYWAYS:
In the Wake of Giants w/ Science is Dead & Overseas
Ok so not only am I secretive, I am also a liar! I ended up not going to the Stills show, and instead went to go see Science is Dead, Overseas and In the Wake of Giants at the Southside Fountain Room. Here are a few reasons why:
a) I like all the dudes in Science is Dead; they are really talented for how young they are
b) I’ve never been in this venue before and I wanted a change of scene
c) It was three dollars as opposed to fifteen. So I could actually afford drinks.
The last reason is actually pretty crucial, and I know this is going to sound quite shitty of me, but honestly, I need a few beers to enjoy super instrumental post-rock in a live setting, which sums up the sound of In the Wake of Giants and Overseas. And instrumental rock in general is a type that I either really like the band beyond belief, or just can’t stand it. I would say that it is a rather hard genre to play for because I started to realize some of the things that I don’t like it when bands do. I feel like a lot of bands don’t have a true handle on the transitions from musical verse to verse…it basically quiets down and then gets really fucking loud. And that’s the changer. Not just once either, multiple times. Layered sound accumulation is really hard to come by without doing it too slow or making it monotonous. If you look at a band like Caspian, which a lot of these kids cite as one of their favorites, I can only think of a few songs off The Four Trees where there is that sharp shift from soft to loud, one of those songs being Crawlspace, and it makes sense in the mood they set for that song anyway. The track is completely tense from beginning to end and just makes you nervous and agitated because it is so successful in the story it tells. You can even look at a band like Built to Spill and strip off Doug Martsch’s iconic vocals, and it would still be better than some of this stuff that tries to overcompensate for the lack of vocal melodies.
Maybe I need to hear these bands a second time and not be resenting missing Modey Lemon, Spanish Prisoners, or the Stills, but for now I am going to cross out the local instrumental rock scene from my agenda. Unless they have a band member who can do flying splits in the air aka someone who is interesting to photograph. Because the music ain’t doing it.
NON-CRITICAL TOPIC = PICTURES!
I almost didn’t go to this show, but I’m glad I made it. How many times do you get to celebrate feb. 29th anyway? Derek White & the Monophobics played the first set. If you’ve never listened to them before, they are pretty much rooted in power pop. I’d never seen them live before and they were a lot of fun to hear, and played some really great songs like “Mean Tambourine.”
After them this band called Soulharmonic came on…it was alright, but not really my cup of tea. Also, my flash was running out of batteries so I didn’t really bother taking pictures of them. The Sexes played last, and they were really fantastic live. I remember listening to songs on their myspace and thinking “god, this sounds so annoying and boring.” But live it was a completely different deal. I am not really familiar with their songs, so I can’t name what I heard, but it was pretty powerful and they all had a great energy on stage. Except, their vocalist’s voice was a bit drowned out at times. That’s my only issue though with their performance. ok, photo timeeee!
derek white & the monophobics
the sexes
